Egyptian cult cinema is not among the world’s most respected forms of filmmaking (even among cultists), and there’s a reason for that. Egyptian films can, however, provide their share of dumb-assed fun (I’m a big fan of the 1977 “GODSPELL meets LA CHINOISE” Egyptian made hippiespolitation flick WHERE DO YOU HIDE THE SUN).
Egyptian cult cinema is not among the world’s most respected forms of filmmaking (even among cultists), and there’s a reason for that.
1981’s FANGS (ANYAB) was, as is the case with many third world (or “Mondo Macabro”) films, a blatant copy of a successful Western movie (which late twentieth century filmmakers in such countries found more cost effective than paying the export fees): THE ROCKY HORROR PICTURE SHOW, which is replicated rather shamelessly by director Mohammed Shebl, who also cribs quite heavily from DRACULA. Another borrowing is the Bollywood model, evident in the overheated melodrama and music numbers that pack FANGS.
Another borrowing is the Bollywood model, evident in the overheated melodrama and music numbers that pack FANGS.
The ROCKY HORROR connection announces itself in the opening dance number, overseen by a pair of singing lips in extreme close up that belong to none other than Count Dracula. There’s also a stuffy criminologist who, as in ROCKY HORROR, is on hand to narrate the film in a book-lined study. In place of Brad and Janet we have Ali Motafa Mohammed and Mona Magdi Kami, a pair of young dreamers (we know this because we’re given brief textual biographies of each stating that they harbor “Hopes for happiness and emotional stability”) on their way to a New Year’s Eve party on a dark and stormy night—at least until their car gets stuck in mud.
They head to the first place they find, a mansion owned, it transpires, by Count D. There, in place of the “Time Warp” number, Ali and Mona are confronted with an interminable eight minute song and dance routine involving the Count’s retinue, who all sport black cloaks and elaborate eye make-up. After this Ali and Mona, to the strains of “Pomp and Circumstance,” are taken to a lavish banquet, during which Mona falls under the spell of the castle’s dashing prince—who is struggling with Dracula for control of the house.
From there the film goes mad…
From there the film goes mad, branching off in numerous directions. In the manner of Ray Dennis Steckler (who was known to grow bored while making his films and recklessly change course), the tone and circumstances alter quite dramatically, with the criminologist choosing to narrate a “What If?” montage showing Ali and Mona growing old together and being harassed by the prince at every turn, before returning to the events in the mansion, during which any sort of focus the film may have previously had is lost entirely.
Given that Egyptian genre cinema is so naturally overwrought and plain bizarre, it can be hard to discern precisely how much of this film was supposed to be funny. The outrageously noisy and insistent music score, which sounds like a parody of standard horror movie music, would seem to suggest that Mohammed Shebl’s aims were satiric. Likewise the outrageously eighties-centric, synthesizer-bolstered songs, which are thoroughly unmemorable.
Given that Egyptian genre cinema is so naturally overwrought and plain bizarre, it can be hard to discern precisely how much of this film was supposed to be funny.
Shebl tends to favor distorted lenses and overtly cartoony touches like thought balloons showing us what characters are thinking, textual intercuts (“Meanwhile in Ali’s room…”), BATMAN-esque “sound” cues intercut with a fight scene, and even a flashing lightbulb appearing aside a man’s head (showing that he has a bright idea), which don’t quite make up for the fragmented narrative, but do at least hold one’s attention.
Such overt campiness can have the effect of excusing poor filmmaking, but that’s not the case here. There’s simply too much clumsiness in FANGS, including scenes that drag on far too long and storytelling that’s obnoxiously discordant, a fact made all the more noticeable by a painfully thin, uneventful narrative.
Shebl tends to favor distorted lenses and overtly cartoony touches like thought balloons showing us what characters are thinking…
A fun pastime when viewing third world exploitation films is picking out the music cues lifted from popular Western movies. THE MUNSTERS, THE PINK PANTHER, JAWS, FOR A FEW DOLLARS MORE, A CLOCKWORK ORANGE and James Bond themes are among the repurposed soundtrack music heard here. Given that copyright restrictions were ignored, I’m not expecting to see a soundtrack album turn up any time soon (much less a DVD release), but that hypothetical album would be a good one.
Vital Statistics
FANGS
Director: Mohammed Shebl
Screenplay: Hassn Abd Raboo, Tarek Sharara, Mohammed Shebl
Cast: Ahmed Adawiyya, Ali El Haggar, Hasan El-Emam, “Mounna Gbbr” (Mona Gabr), Haddey Saddekk, Tal’tt Zean